My blog friend Mark recommend I go and see The Wedding Present at Stockton Georgian Theatre as he was going to see them all three shows there. I could only manage to get tickets for the Sunday afternoon concert. The other shows were all fully subscribed. So, carer Chris, Norm and I turned up at 2 PM just-in-time to catch Cumbrian support act power pop-punk pair VOODOO RADIO consisting of singer/drummer Paige and her guitarist father Tony.
Their website states: “The duo started rocking the tunnels of Leicester Square tube station, London in 2018, stopping commuters and tourists alike in their tracks with a mesmerising ‘summer of 76’ power-pop sound. Tony, a seasoned performer was inspired by hearing Slaves on the radio and suggested to young Paige: “get two shoe boxes, anything that’s like a drumstick – a table knife and a wooden spoon and see if you can sing and play rhythms whilst hitting a beat” – Paige certainly could, and Voodoo Radio were manifested.”
“Since gaining a record deal last year with Holy Dotage Records the Cumbrian duo have been played on BBC Radio 6 by Steve Lamacq and Tom Robinson. They were also record of the week on BBC Cumbria and have had various interviews. Tom Robinson also choose Voodoo Radio as one of his top 5 up and coming acts to look out for 2022. Summer hit Ice Cream Man was recently played on Absolute Radio by Frank Skinner. Last Year the duo played festivals such as Kendal Calling, Headlined the BBC Introducing stage at Coast Roads Festival, Guilfest, Front Row Fest, Micks Mayhem Punk Fest, Twisterella, Undercover Fest, Alternative Aycliffe to name a few.”
We had quite a struggle finding the venue, but eventually we managed to do so. Once inside, we took a vantage point upstairs which gave us a great view of the proceedings. Before seeing the support act Voodoo Radio, Chris and I went downstairs to the merchandise stand, and queued to purchase a couple of books and a George Best T-shirt. The lady on the stand promised that The Wedding Present front man and author David Gedge would sign the two books at the end of the concert.
Once back upstairs I asked Chris if he would go downstairs again and purchase two Voodoo Radio drumsticks, signed by Paige which he kindly did. Voodoo Radio played their set, Paige banging away at her drums, while Father Tony played excellent guitar. After this, Norm treated me to a pint of Guinness, before headliners the Wedding Present took to the stage. My friend, Mark who had travelled from down south to see his favourite band, introduced himself to me and told me how great they had been the previous evening.
The Wedding Present are excellent. David Gedge is clearly the front man of the band. They begin with “Brassneck” which sets the tone of the afternoon. Gedge, halfway through the concert, introduces “Rachel”, as the new guitarist. It is very clear that the band have a strong following, Gedge saying “Hello” to many of their fans who have no doubt travelled some distance to witness the afternoon concert. The final track is “Bewitched” afterwards we go downstairs and join the queue to get our books signed.
Their site states that: “They have had eighteen UK Top 40 hit singles… not bad for a band that has, from its inception, stubbornly refused to play the record industry’s game. It all started in 1985 when David Lewis Gedge boarded a National Express coach in London with 500 records packed into a pair of his mother’s suitcases and, in this fashion, delivered the band’s debut single Go Out and Get ‘Em, Boy! to a distribution company in Yorkshire. That pioneering spirit has been at the core of the band’s philosophy ever since. From George Best, “an unmitigated delight” [NME], the first full-length release on their own Reception Records onwards, the band has charted an appealing, if often eccentric, course of its very own.”
“With their early releases The Wedding Present had acquired a reputation for bittersweet, breathtakingly honest love songs immersed in whirlwind guitars, so it was extraordinary that Ukrainski Vistupi V Johna Peela, with the band exploring traditional Eastern European folk music, should be their major label debut for RCA Records. “(They) carry off what is basically a bold experiment with verve” [NME]. However, this was soon followed by the more traditionally incendiary Bizarro, “simply unbeatable” [Melody Maker] which featured their first hit single Kennedy.”
“The next step, made with characteristically twisted Wedding Present logic, was to enlist the aid of the noise-mongering [and, at that point, relatively unknown] sound engineer Steve Albini. The resulting Seamonsters, recorded in the snowy wilds of Minnesota in just 11 days, suggested a more thoughtful Wedding Present. The Guardian newspaper noted that: “Albini has given The Wedding Present considerable weight, with Gedge’s voice trickling between banks of scowling guitars. Indeed, the singing ranged from sensual whispering to feverish screams.”
An excellent concert by a tremendous band. Thanks to Chris for the photographs and navigating the site. Thanks to Norm for going outside, finding our taxi, and asking him to wait for us while we had the books signed.
VOODOO RADIO Set: (something like) Eat Your Words; Pretty Boy; Basic Bitch; Slag Bank; Ice Cream Man; Dog; Stupid Humans; She’s so Toxic; Space Girl; Turn out the Light.
Wedding Present Set: Brassneck; We Interrupt Our Programme; Dalliance; Nobody’s Twisting Your Arm; What Have I Said Now? Rachel; It’s a Gas; Gazebo; Don’t Talk, Just Kiss; Come Play With Me; Crawl; Catwoman; No; Kennedy; Everyone Thinks He Looks Daft; Make Me Smile (Come Up and See Me); Take Me!; Bewitched.
Not for the first time I had a dilemma. 
Sometimes this has worked, such as when I went to see Rush at the City Hall, came out early and went down to the Mayfair just as the Clash came onstage. On another occasion I saw Culture Club at the City Hall at the time of Karma Chameleon, went down to the Mayfair and saw Marillion on an early tour. However, with a bit searching of the Internet I discovered that Richard Thompson was playing in York a couple of days before his Gateshead Glasshouse appearance. So, I decided to see Richard in York on Tuesday and Robin on Thursday in Gateshead. Problem solved!
So, a trip to York it was, along with carers Jackie and Elaine. Our friendly taxi driver took us to Durham station and shortly afterwards, we arrived by train at York. An equally friendly taxi driver then transported us all to the Barbican Theatre. He promised to pick us up at the end of the show. So far, all was well.
Now, I first encountered Richard Thompson when I saw him perform as part of a duo with his then wife Linda, supporting Traffic at Newcastle City Hall in the early 1970s. I then lost touch with Richard and his music until relatively recently. In the last few years, I have seen him perform at Newcastle Tyne Theatre in the aforementioned Glasshouse. I soon realised what I had been missing. The man is an incredible musician, singer, guitarist, and storyteller. He can switch from intricate fingerpicking on an acoustic guitar to beautiful electric guitar. He has a large back catalogue of songs starting with his time as a member of Fairport Convention in the late 1960s through his work with Linda and then his solo career.
The publicity for his 2024 tour read: “Ivor Novello Award-winning and GRAMMY® Award-nominated legend Richard Thompson returns to York with a full band. ‘The finest rock songwriter after Dylan and the best electric guitarist since Hendrix’ – Los Angeles Times” Influential. Pioneering. A British folk-rock cornerstone. He’s famed for turning emotions into the lightning-speed fretwork, poetic songwriting and impassioned picking that have filled nineteen solo albums to-date. Thompson has had an illustrious career and it’s still going strong. He holds a coveted spot on Rolling Stone’s “100 Greatest Guitarists of All Time.” He’s even picked up Lifetime Achievement Awards from the BBC and Americana Music Association in Nashville and was awarded an OBE in 2011.”
We arrived at the Barbican with plenty of time for a drink and to catch the support act, solo singer/guitarist 
Richard Thompson was accompanied by full electric band this tour; I am more used to seeing him play solo. This was a pleasant change, the full band added a harder, more electric sound to Richard’s own excellent vocals and guitar playing. The band comprised Richard’s wife on vocals and tambourine, his son (I think) on guitar and long-time Fairport member Dave Mattocks on drums. The set included an acoustic part in the middle.
We managed to catch the entire set (we have often needed to leave early on previous trips to York) which was great. As we left the venue, we rang our (new) friendly York taxi driver and he arrived a few minutes later to take the three of us back to the station in plenty of time to catch our train. No worrying rush on this occasion! Phew. After the usual short ride back to Durham our local friendly taxi driver transported us back home and I was soon comfortable in my bed again.
Setlist was something like this: Freeze; Hard on Me; Withered and Died; The Old Pack Mule; Turning of the Tide; John the Gun; Al Bowlly’s in Heaven; The Day That I Give In; A Man in Need; Take Care the Road You Choose; Singapore Sadie; What’s Left To Lose; Guns Are The Tongues; Tear Stained Letter
The Pitmen Poets effortlessly weaved tales of mining life through their songs and anecdotes. Their set included a mix of traditional folk songs, contemporary compositions, and spoken word pieces, each carefully chosen to reflect the struggles, resilience, and humor of the mining communities.
Jez Lowe’s songwriting shone brightly, with tracks like “Black Diamonds” reminding the audience of our coal mining roots. Billy Mitchell’s vocals and stage presence (remember this guy used to front Lindisfarne at one stage in his career) reminded me of when I last saw him perform at the Gala Theatre as part of the Lindisfarne Story, while Bob Fox’s excellent guitar work and Benny Graham’s rich, resonant voice completed the Pitmen Poets sounds and stories of times long past yet well remembered and implanted in our local heritage.
One of the evening’s highlights was their rendition of “The Collier’s Rant,” a traditional Geordie folk song that had the entire audience joining in. Even more familiar, and fun, was their performance of “when the boat comes in” which they explained was not about coalmining but nonetheless fitted within the same genre. Another great singalong.
The band explained that none of them had actually worked down the pit, but their close relatives (in most cases their fathers) had been pitmen. They went on to explain how they were of a generation whose parents said “You are not going down the pit like your Da, that life is not for you” (or something like that).
There were also visual elements to the show, including archival footage and photographs projected behind the band, bringing the history and stories of the miners to life. The Pitmen Poets’ performance was a memorable and moving tribute to our region’s mining history.
I bought a signed book by Jez Lowe, his fourth novel. A quote from the rear cover text: “A 19th Century village in County Durham is blighted by an all-too familiar tragedy, an explosion down the mine, but this time with a curious twist that sends waves of surprise and confusion across the region. It is left to a newly arrived young policeman to solve the mystery, in the face of hostility from the mine-owners, suspicion from the miners and their families and an over-arching web of prejudice that reaches out from a distant foreign land.
Only a scattering of odd characters and Tyneside eccentrics reach out to help him, along with a mysterious woman who captivates all those who come in contact with her.” Perfect! The rest of the band were also available to meet after the show.
Attending a 
In fact, it was not that long ago since I last saw Bruce at Murrayfield, Edinburgh. As a long-time fan, I have many memories of seeing the man over the years including his first UK appearance at the Hammersmith Odeon in 1976, and numerous other concerts since; at Newcastle City Hall, St James’s Park, Dublin’s The Point, London O2 Arena, Leeds Arena, and a previous appearance at the Stadium of Light.
Bruce has always been magnificent. This night, despite the challenging weather, was no exception. Springsteen took the stage with his characteristic energy, launching into a setlist that spanned his decades-long career. From the opening chords of “Waitin’ on a Sunny Day,” the entire stadium was with him. Classic tracks including “Born to Run,” “Dancing in the Dark,” and “Thunder Road” had the crowd singing along, creating the usual great atmosphere that I have come to expect at a Springsteen concert. Bruce’s voice was as powerful as ever, and his interactions with the audience as authentic and genuine. Particularly moving for me was “Thunder Road” which closed the main set and has become a crowd favourite, Bruce on harmonica and great vocals.
I recall playing the song to my friends after I bought the Born to Run LP (it was always real vinyl in those days). I thought his voice was unlike anyone’s I had heard before. Perhaps a cross between Elvis Presley and Bob Dylan? Every song on that album is a classic and many of them remain in his set today. The very last song has come to be “I’ll See You in My Dreams” which is a perfect end to the evening and to his now traditional three-hour set.
This time I decided to treat myself to hospitality in the Black Cats Bar which was top-notch. The staff were helpful and accommodating, ensuring that my carer and I were comfortable throughout the evening. The bar provided an excellent vantage point, combining the thrill of being part of the crowd with the convenience of a more relaxed (and dry) setting. This made it easier to enjoy the concert without the usual issues that come with being in a large, bustling venue. My second carer, seated elsewhere in the stadium, also had a dry and enjoyable experience.
The weather was bad, with rain pouring down throughout the concert. While we stayed dry in the Black Cats Bar, and my second carer was dry in the stands, the fans on the pitch were not as fortunate. Despite those soaking conditions, their spirits were high, and their enthusiasm never waned. Only an artist like Springsteen has the incredible ability to connect with his audience and keep the energy high, no matter the circumstances.
Sadly, Bruce lost his voice after this concert and had to cancel his next couple of concert appearances in Europe. Elaine took some great photos throughout the night. Many thanks to Chris for manipulating the site as usual. And here is something I must reveal. I used Chat GPT to create the first draft of my review, partly as an experiment and partly to try and speed up the process, as I am way behind with my blog entries. However, I am not sure if it did speed up the process as I had to rewrite much of the text to remove the robot and replace it with Peter. Not sure if I fully succeeded.
Setlist: Waitin’ on a Sunny Day; Lonesome Day; Prove It All Night; No Surrender; Ghosts; Letter to You; The Promised Land; Hungry Heart; Light of Day; Atlantic City; Darlington County; Nightshift; The River; Racing in the Street; Last Man Standing; Backstreets; Because the Night; She’s the One; Wrecking Ball; The Rising; Badlands; Thunder Road. Encore: Born to Run; Glory Days; Dancing in the Dark; Tenth Avenue Freeze-Out; Twist and Shout; I’ll See You in My Dreams
A great double act of rockers. First on the bill was the 
Jim Jones’ new band announces itself as: “Open your ears, arms, and hearts to welcome The Jim Jones All Stars into your lives! Fronted by legendary testifier Jim Jones – formerly of The Hypnotics, Black Moses, The Jim Jones Revue and Jim Jones & The Righteous Mind – his latest project sees him swan dive into not only his primordial influences and his own classic-packed back catalogue, but also into a spicy gumbo of hot, new sounds. Joined by former Jim Jones Revue members Gavin Jay (bass) and Elliot Mortimer (piano and keyboards), The Jim Jones All Stars are augmented by guitarist Carlton Mounsher, singer Ali Jones, drummer Chris Ellul and the three-way sax attack of Stuart Dace, Chuchi Malapersona and Tom Hodges. Born out of necessity, born out of wedlock, and simply born to boogie, The Jim Jones All Stars are an unholy trinity of birth.” (from Jim Jones website).
And boogie they do. Jim Jones is a full-on crazy guy who proudly fronts his review, leading them through a manic set of rock, blues, soul, and craziness. Jim is a great vocalist, full of confidence, with no fear at all. The guy commands stage, audience, and band. A fantastic warmup for the Crowes. “Necessity, being the mother of invention, surprised us all when she delivered a healthy, heavyweight, blue-eyed amalgam of incendiary ramalama soul.” Says Jim from his website.
After a short break, the curtain covering the 
The publicity for the Black Crowes latest album and tour says: “The Black Crowes are leaving the bullshit in the past. 15 years after their last album of original music, the Robinson Brothers present Happiness Bastards– their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it’s arriving at just the right time.
Call it brotherly love or music destiny that brought them back together in 2019, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it’s very best – gritty, loud, and in your face.”
I first saw the Black Crowes at the Donington Monsters of Rock festival in 1991 where they were first on as part of a strong lineup headlined by AC/DC and featuring Metallica, Motley Crue and Queensryche. I wrote at the time: “We made sure that we arrived in time to see The Black Crowes, as I’d heard a lot about them. I remember being impressed by them, particularly by their cover of Otis Redding’s “Hard to Handle”. My friend John lives in the US and is a massive Black Crowes fan, and he keeps me up to date on them. I really must get to see them again someday soon.” Well, it was many years before I saw the Crowes again at Manchester Academy in March 2013. My friend John remains a dedicated fan and has seen them many times in the USA.
Bands like the Crowes keep the rock ‘n’ roll flag flying high. They exploded onto the stage and immediately the packed house was singing along and rocking with them. Memories of seeing Mick Jagger in the 70s come flooding back into my mind. Singer Chris Robinson has the same sort of swagger and energy. To my shame I don’t recognise many of the songs but nonetheless really enjoy the performance. Chris and his brother Rich Robinson, Chris’ seemingly quieter, more subdued on perfect electric blues/rock guitar lead the band through a set of songs which combine rock, blues, punk, and soul.
For around an hour and a half, which seems to speed through in a few moments, Chris swaggers backwards and forwards, left and right around the stage singing his heart out. Comparisons of early Faces, Small Faces and the aforementioned Rolling Stones come to mind. They even play a great version of the Stones’ “Rocks Off”. Why do I always have to draw comparisons? Not sure. It gives me a rock compass by which to measure and categorise artists. Whatever the comparisons, the Black Crowes are a force to be reckoned with.
Chris reminds us that the last time they played the City Hall was back in 1991; the same year when I saw them at Donington. Not many of the crowd seemed to register being present. I am not sure I was even aware that they were on at the City Hall at the time. Not sure why I didn’t attend. They perform “Hard to Handle” again. Magic. Their soul roots showing through and adding new life to the Otis Redding classic. A figure of Chuck Berry reminds us of their rock ‘n’ roll roots and reminds me of when I saw the great man in the same venue many years ago in the 70s.
“When it comes to live music, few bands do it better than The Black Crowes. The American rockers have had their fair share of ups and downs over the years, but they are sounding stronger than ever with their latest album, Happiness Bastards. Hitting the road with Jim Jones All Stars in support, The Black Crowes stopped off in Newcastle to sprinkle a little bit of rock and roll magic in the city’s historic City Hall. I bought a copy of the album, signed by both Chris and Rich (pictured). Class.
The band played a good mix of old and new, including a song first made famous by Otis Redding and immortalised in rock history by The Black Crowes, ‘Hard to Handle’, as well as their cover of The Rolling Stones classic ‘Rocks Off’. The night was a celebration of timeless rock played with style and swagger, thanks to Chris’ larger-than-life stage presence. Each member of the band was an integral part of an unstoppable music machine that took over Newcastle for a night.” (from Music News Monthly website).
A great night spent with two magnificent rock ‘n’ roll, soul revue bands. It doesn’t get much better. Many thanks to Elaine for the photographs and Chris for manipulating the site as usual.
The Thompson Twins were named after the bumbling detectives in the Adventures of Tintin books, which were also a TV show. The Crab with The Golden Claws was my favourite. I would run in from playing in the street to watch it. I can still hear the intro: “Hergé’s Adventures of Tintin: The Crab with The Golden Claws”. See my images of a Thompson Twin model which Jan kindly bought me and my Tintin book which I bought on eBay.
But these Thompson Twins were very different. These started as a new wave outfit, formed in a squat full on left wing anarchic values. In my mind I have them bracketed with the Raincoats and the Mekons, who were similar new wave acts of the time. They were a large band comprising seven members, fronted by 
I remember the set as being very rhythmic, verging on dance, with lots of drums and percussion, and that there was much running about the stage by everyone. This was at the time of their second album Set which featured the single “In the Name of Love”. “In the Name of Love” was a dance hit, particularly in the US, and encouraged the band to follow a dancie/pop direction. Shortly after Set the band split and was reduced to the trio of Bailey, Currie and Leeway. Big success was to follow.
In early 1983 the new slimmed down Thompson Twins released their third album Quick Step and Side Kick. The album was much more of a slick pop/dance record and reached No 2 in the UK charts. It also gave them four UK singles chart entries with “Love on Your Side” (No. 9), “We Are Detective” (No. 7; I often wonder if this was a further reference to Tintin and his sidekicks the detectives The Thompson Twins), “Watching” (No. 33) and “Hold Me Now” (No. 4).
The Thompson Twins had made the transition from a new wave act living in a squat to massive international success. Their Side Kicks tour sold out everywhere. I saw them when the tour called at Newcastle City Hall. A fun show, all the hits, and very different from the band that I had seen only one year previously.
Roll-on 40 years and the Thompson Twins are back (well one of them anyway). Lead singer and front man Tom Bailey announced his new tour thus: “Thompson Twins Tom Bailey has today announced a major headline UK tour celebrating the 40th anniversary of the iconic eighties’ album ‘Into the Gap‘. The Thompson Twins are widely regarded as one of the most iconic bands of the 1980s and provided the soundtrack to many people’s lives during that incredible era of music.
On the seven date UK tour in May 2024, Tom will perform Into the Gap the 1984 lauded number 1 album in full. The album which has sold over five million copies worldwide spawned the distinctive new wave singles ‘Hold Me Now’, ‘Doctor Doctor’, ‘You Take Me Up’, ‘Sister of Mercy’ and ‘The Gap’.”
“Along with the album Tom will also perform Thompson Twin favourites including ‘If You Were Here’, ‘Lies’, ‘Lay Your Hands on Me’, ‘In the Name of Love’ and many more. Of the new tour Tom said: “Unbelievably, it’s the 40th anniversary of ‘Into the Gap’ next year, so I’m especially looking forward to touring the UK and playing all those songs along with some other favourites. Hope to see you there!” Tom’s Into the Gap 40th anniversary tour follows major festivals appearances around the world and is his first major UK headline tour since 2018.”
And so it was that Jan, and I were in The Glasshouse to witness Tom Bailey and all-female band perform those classic hits. Support came from 
Tom performed the concert in two sets, each one containing a group of great hits. He was visibly proud and obviously enjoying returning to the limelight. Hit after hit followed. Tom started the proceedings straight into those classic songs with “In the Name of Love”, “Lay Your Hands on Me” and some which were less familiar to me. He concluded the first set with a song which was by “One of my favourite bands”, Talking Heads’ “Psycho Killer” bringing back memories of seeing Talking Heads “back in the day” at Newcastle Polytechnic (with, I think, Dire Straits as support, no less) and later at Newcastle City Hall, when they became more mainstream.
The second set contained more hits: “Sister of Mercy”, “You Take Me Up”, “Doctor! Doctor!”, closing with “Hold Me Now”. Fantastic. It really took me back. The encore included the aforementioned “We Are Detective” and “Love on Your Side”. I really enjoyed it, even though the electronic 80s is not my favourite era/genre. Tom, you did credit to those old hits. Many thanks to Jan for the photos and Chris for manipulating the site as usual.
Set One: In the Name of Love; Science Fiction; Lies; Lay Your Hands on Me; Runaway; If You Were Here; Shooting Star; Psycho Killer.
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